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THE 



CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



19 6 8 • 19 6 9 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1968-1969 



RITTENHOUSE SQUARE 
PHILADELPHIA, PENNSYLVANIA 19103 



COPYRIGHT 1968, BY 
THE CURTIS INSTITUTE OF MUSIC 




MARY CURTIS ZIMBALIST 
Founder and President 



THE CURTIS INSTITUTE OF MUSIC 

Rudolf Serkin, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 

To hand down through contemporary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 

The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is also included in the list of 'Colleges 
and Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for the attend- 
ance of nonimmigrant students, under the Immigration and Na- 
tionality Act. 

All students, residents of the United States or of a foreign coun- 
try, are accepted under the conditions herein set forth, on the 
scholarship basis exclusively, and pay no tuition fees. 



THE CURTIS INSTITUTE OF MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA, PENNSYLVANIA 19103 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Gary W. Bok 

Secretary and Treasurer 
Jay H. Mattis 



BOARD OF DIRECTORS 

Mary Curtis Zimbalist Nellie Lee Bok 

Cary W. Bok A. Margaret Bok 

Jay H. Mattis 



Edith Evans Braun 
Samuel Barber 



•9 



DIRECTOR-RUDOLF SERKIN 



The Faculty -Major Courses 



VOCAL DEPARTMENT 
Richard Lewis Eufemia Giannini Gregory 

VOCAL REPERTOIRE 
Vladimir SokolofF 

OPERA DEPARTMENT 

Elizabeth Westmoreland Martha Halbwachs Massena 



PIANO 

Rudolf Serkin Mieczyslaw Horszowski 

Eleanor SokolofF 



COMPOSITION 

Samuel Barber Gian Carlo Menotti 



ORGAN 

Alexander McCurdy 



10 



THE FACULTY— Major Courses (Continue^ 



Ivan Galamian 



Max AronofF 



VIOLIN 

Jascha Brodsky 
VIOLA 



Paul Makanowitzky 



Joseph de Pasquale 



Orlando Cole 



VIOLONCELLO 



David Soyer 



HARP 

Marilvn Costello 



FLUTE 

John C. Krell 



OBOE 

John de Lancie 



CLARINET 

Anthony Gigliotti 



BASSOON 

Sol Schoenbach 



HORN 

Mason Jones 



TRUMPET 

Samuel Krauss 



TROMBONE 

M. Dee Stewart 



DOUBLE BASS 
Roger Scott 



PERCUSSION 

Gerald Carlyss 



TUBA 

Abe Torchinsky 



11 



FACULTY — Supplementary Courses 



Matthew Colucci 



THEORY 
Robert D. Levin 



Edith Evans Braun 



Vladimir Sokoloff 
Marion Zarzeczna 



SECONDARY PIANO 



Martha Halbwachs Masse'na 
Freda Pastor 



Eugene Ormandy 



ORCHESTRA 



William Smith 



Arnold Steinhardt 
John Dalley 



CHAMBER MUSIC 
Jascha Brodsky 

GUARNERI QUARTET 



Michael Tree 
David Soyer 



WOODWIND ENSEMBLE 
John de Lancie 



BRASS ENSEMBLE 

Mason Jones 



LANGUAGES and DICTION 
French German 

Mary Q. Shumway 

Sebastiano Di Blasi 

The'rese Casadesus Rawson 



Italian 



12 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
giYt in detail all requested information. The application form 
must be accompanied by a physician's certificate of health, tran- 
script of High School and/or other academic records. An appli- 
cant enrolled as a student at another school of music or studying 
with a private teacher will be considered for an audition or 
examination only if the application form is accompanied by 
written permission from the school and/or the private teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled, and the Curtis Institute of Music 
accompanist provided when needed, on dates for each subject 
when our faculty is available. Please do not request changes in 
appointments as they cannot be granted. 

School Year 1969-1970 

Auditions will be scheduled in March, April and May 1969, 
for those Departments in which there are vacancies to be filled. 

Everyone requesting an audition should send for an application 
form stating his or her major subject and date of birth. This appli- 
cation form can be obtained, on request, after December 15, 1968, 
when department vacancies will have been determined, and 
must be completed and returned with supporting documents 
before February 1, 1969. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia, Pennsylvania 19103 

• 13- 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing latitude in the selec- 
tion of works to be presented. While the choice of composition 
is important, performance carries greater weight. 

The final decision as to the suitability of an applicant for ac- 
ceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise 
of development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A knowledge of the piano, 
and of the theory of music, is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 



VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any 
period which have artistic merit. 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 



Age requirement: Women should be between eighteen and twenty- 
six, men between twenty and thirty. 



14 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Examination 

PIANO 

Applicants shall play from memory : 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Mozart sonata (to be chosen from Nos. 283, 309-10-11, 
330-31-32-33, 457, 570, 576 in the Kbchel catalogue') or a Beethoven 
sonata, complete; 3) two selections — one slow and one brilliant 
— from the works of Chopin . 
Age requirement: Applicants should be under twenty-one. 

COMPOSITION 

Applicants shall state date of birth, the period of study devoted 
to composition and the name, or names, of their instructor. 
They will also submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 
Applicants should send their manuscripts by registered mail 
during the months of October through April, and if, on exami- 
nation, further consideration is prompted, an application form 
will be provided. Postage must accompany manuscripts and 
material which applicants desire to have returned. 
Age requirement: Applicants should be under twenty-five. 

ORGAN 
Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 
Applicants shall also play the following at the piano: 1) a study; 
2) a nocturne or other slow movement. 
Age requirement: Applicants should be under twenty-one. 

HARP 
Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works 
from contemporary literature. 
Age requirement: Applicants should be under twenty-one. 



15 



ENTRANCE REQUIREMENTS Continued 

Qualifications for Audition or Examination 



VIOLIN 



Applicants under fourteen years of age shall play from mem- 
ory: 1) scales in three octaves and double stops; 2) Kreutzer or 
Rode etudes; 3) a concerto of Mozart, Spohr or Mendelssohn. 
Applicants over fourteen years of age shall play from memory: 
1) all scales in fluent tempo and double stops; 2) a Bach sonata 
for violin alone; 3) etudes by Dont or Paganini; 4) a concerto 
of Mozart, Spohr, Beethoven, Brahms, Paganini, Mendelssohn, 
Vieuxtemps, Wieniawski, Goldmark or Bruch. 

Age requirement: Applicants should be under twenty-one. 



VIOLA 

Applicants shall play; 1) all major and minor scales and arpeg- 
gios; 2) the Kreutzer violin etudes; 3) the forty-one caprices of 
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz 
or Mozart. 

Age requirement: Applicants should be under twenty-one. 



VIOLONCELLO 

Applicants shall play from memory: 1) all major and minor 
scales and arpeggios; 2) an etude or a caprice by Franchomme 
or Piatti or Duport; 3) a fast and a slow movement from a Bach 
suite; 4) a concerto from the standard repertoire or a sonata by 
Beethoven or Brahms or a modern composer. 

Age requirement: Applicants should be under twenty-one. 



16 



ENTRANCE REQui REMENTs — Continued 
Qualifications for Audition or Examination 

DOUBLE BASS 

Applicants should possess a good ear, sense of rhythm and the 
ability to read at sight. They shall play: 1) all the scales, inter- 
vals and arpeggios; 2) a solo piece. 

Age requirement: Applicants should be under twenty-one. 



FLUTE, OBOE, CLARINET, BASSOON, HORN 

Applicants should possess a good ear, sense of rhythm and 
tone, and the ability to read at sight. They shall demonstrate 
familiarity with all major and minor scales and arpeggios, be 
prepared to play one movement of a concerto or sonata and be 
able to read an orchestral excerpt. 

TRUMPET, TROMBONE, TUBA 

Applicants should possess physical aptitude for the chosen 
instrument, a good ear, sense of rhythm and the ability to read 
at sight. They shall play: TRUMPET: Arban Bousquet or 
Charlier etudes, Haydn Trumpet Concerto or equivalent, and 
Orchestral studies by Bartold. TROMBONE: Arban etudes, 
Kopprasch etudes, Blume studies and a contemporary solo by 
Bozza. Fluent reading of bass, tenor and alto clefs. Orchestral 
excerpts. TUBA: Etudes by William Bell and Walter Sears. 

Age requirement: Applicants should be under twenty-one. 

PERCUSSION, TYMPANI 

Applicants should possess a good ear, sense of rhythm, the 
ability to read at sight, show aptitude for the instrument and 
shall be prepared to play a solo on the snare drum, marimba 
and tympani. 

Age requirement: Applicants should be under twenty-one. 



17 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 13-17) 
For the Diploma 
The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: The satisfactory completion of a four year High 
School, Preparatory School, or, the equivalent of a High School 
education. Foreign students must submit evidence of equivalent 
academic training. Under exceptional circumstances, students 
who have virtually completed the normal four year program 
in three years, will be considered. 

The degree is given upon the completion of four years of study 
in any major course, providing a total of 120 Semester Hours, 
comprising 60 Semester Hours of Applied Music including the 
major, 30 Semester Hours in Theory and 30 Semester Hours in 
Academic subjects. A high standard of excellence must be 
maintained throughout the entire period. 

Prescribed minimum requirements in theory and supplementary 
applied subjects may be eliminated by examination, but will 
not provide semester hour credits. The Institute will give 
credit for academic and theory subjects at an accredited college, 
university or music school, earned either before admission or 
during the period of enrollment, but reserves the privilege to 
examine all candidates- before granting the transfer of credits. 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite: A Bachelor of Music degree in Composition, meet- 
ing the requirements of The Curtis Insitute of Music. 

The Master's degree is given at the completion of not less than 
two years of graduate study in Composition, with a total of 
24 Semester Hour Credits. 

The Thesis requirement may consist of an extended original 
composition for full orchestra, for chorus and orchestra or for 
one or more acts of opera. 

• 18 • 



MINIMUM COURSE REQUIREMENTS — Continued 



Supplementary Theoretical Courses 

For the Diploma 

Solfege: 1, 2 
All Candidates \ Dictation: 1, 2 

OF \\ Harmony and Counterpoint: 1 

All Departments /| Aural Harmony: 1 

Elements of Music: 1 



( Theory requirements to depend on 

Composition / placement examinations. 

(.Elements of Music: 1, 2 



For the Degree Bachelor of Music 

Solfege: 1, 2, 3 

Dictation: 1, 2, 3 
All Candidates U Harmony and Counterpoint: 1, 2 

OF <j Aural Harmony: 1, 2 

All Departments Orchestration:! 

Form and Analysis: 1 

Elements of Music: 1, 2 



19 



MINIMUM COURSE REQUIREMENTS — Continued 

Supplementary Applied Subjects 

The following are required courses for admission to the Diploma 
or the Bachelor of Music degree. 

Supplementary Piano course may be eliminated by examination. 



Piano: 1, 2 
Diction 

Voice { Vocal Repertoire 

Languages 
Opera Class 



Piano Chamber Music 



Organ Piano: 1, 2 



( Piano: 1, 2 

Harp <. Harp Ensemble 

( Orchestra 



Violin. 



^ >• < Chamber 

Double Bass 



v!oLONCELLoV/.V. ■■■■.'■ ■■'.^■■' ■; : '.'.'.'.'.'.'.">< Chamber Music 




Flute N 

Oboe \ ( Piano : 1 

Clarinet >< Woodwind Ensemble 

Bassoon \ \ Orchestra 

Horn / 



( Piano: 1 

•< Brass En; 

(. Orchestr; 



Trumpet 

Trombone i/n t- ui 

J >< Brass Ensemble 

D I ( Orchestra 

Percussion J ^ 

Composition Piano: 1, 2 



20 



GENERAL INFORMATION 



Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

The Academic program leading to a High School diploma is 
the personal responsibility of the student. 

The School has no dormitories, living accommodations and 
expenses are the responsibility of the student. 

All students are on probation during their entire period of 
enrolment, and may be dropped at any time for failure to 
progress according to the standards of the Faculty. 

Students are expected to provide their own music for major 
subjects. Music for secondary piano, ensemble and orchestral 
classes is supplied from the school library. 

Students are permitted to accept professional engagements only 
with the approval of the Director. 

The school collection of instruments includes string instruments 
of the Italian, French and English Schools, Steinway pianos, 
Lyon and Healy harps, orchestral instruments. The organ in 
Curtis Hall is a five-manual with 98 ranks of pipes, built by 
Aeolian-Skinner. 

The library of 45,000 items contains a large collection of solo, 
ensemble and orchestra music; definitive editions of the great 
classical composers as well as critical editions of such works as 
Mestres de I'Escolania de Montserrat; Expert, Monuments de 
la Musique Francaise and Les Maitres Musiciens de la Ren- 
aissance Francaise; Fellowes, English Madrigal. School and 
Lutenist Song Writers; Tudor Church Music; Torchi, L'arte 
musical in Italia; Angles, El Codex de las Huelgas; Annunzio, 
I Classici della musica Italiana, and Denkmaler deutscher Ton- 
kunst and Denkmaler der Tonkunst in Osterreich. A large 
collection of phonorecords with facilities for listening are 
available in the library. 



21 



GENERAL INFORMATION— (7o«^i««f<^ 

There are a number of rare manuscripts and first editions. Among 
valuable collections presented to the library are the Lynnwood 
Farnam organ music bequest, the Charles H. Jarvis Collection 
of 19th-century music and the Burrell Collection of Wagneriana. 

The auditorium, Curtis Hall, provides facilities for faculty and 
student recitals, organ teaching and practice, school gatherings 
and commencement exercises. In general, lessons, classes and 
rehearsals are scheduled for afternoons, mornings are devoted 
to practice. Designated practice studios are provided at the 
Institute. 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Rudolf Serkin Director 

Anthony Checchia Assistant to the Director 

Sumner W. Stevenson Comptroller 

Daniel M. Llewellyn Chief Accountant 

Thelma W. Branson Secretary of Admissions 

Anne O. Smith Registrar 

Sonya Haddad Secretary to the Director 

Maud Louise Lytle Secretary to the Comptroller 

Gordon Mapes Librarian 



22 



CALENDAR 

1968-1969 



September 23 (Monday) | n ■ • r j 

c -,A )-r j> r Keffistration or new students 

SEPTEMBER 24 Qiuesdayj j ° 

September 25 (Wednesday) ( t. • • r i i j 

c -.^ /^'Ti J Nr Reeistration or old students 

September 26 (ihursday) j ° 



September 27 (Friday) First Term opens 

November 28 (Thursday) ) _,,.._,. 

XT -,^ /^T- • J ^ ^ Ihankseivine Vacation 

November 29 (Friday) j & o 

December 6 (Friday Evening) The President's Party 

December 14 (Saturday) ) ^, . xr ■ 

T ^ ^c J N ^ Christmas Vacation 

January 5 QSunday) J 

January 6 (Monday) School re-opens 

January 24 (Friday) First Term ends 

January 27 (Monday) Second Term begins 



April 4 (Friday) ) „ _^ . 

A o Xir jj > ^ Easter Vacation 

April 9 (Wednesday) j 

May 9 (Friday) Last day of instruction 

May 14 (Wednesday) Commencement 

Recitals as scheduled 

• 23 ■ 




MAIN ENTRANCE 
THE CURTIS INSTITUTE OF MUSIC 



24 



NOTES 



NOTES 



NOTES 



THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



1969 • 1970 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1969-1970 



RITTENHOUSE SQUARE 
PHILADELPHIA, PENNSYLVANIA 19103 



COPYRIGHT 1969, BY 
THE CURTIS INSTITUTE OF MUSIC 




MARY CURTIS ZIMBALIST 
Founder and President 




RUEXDLF SERKIN, Director 



THE CURTIS INSTITUTE OF MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA, PENNSYLVANIA 19103 



OFFICERS 

President 
Mary Curtis Zimbalist 

Vice-President 
Gary W. Bok 

Secretary and Treasurer 
Jay H. Mattis 



BOARD OF DIRECTORS 

Mary Curris Zimbalist Nellie Lee Bok Edith Evans Braun 

Gary W. Bok A. Margaret Bok Samuel Barber 

Jay H. Mattis William Garson Bodine 



THE CURTIS INSTITUTE OF MUSIC 

Rudolf Serkin, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 

To hand down through contemporary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 

The School is operated under a Charter granted by the Common- 
■wealth of Pennsylvania and is also included in the list of "Colleges 
and Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees". 

To meet the compulsory educational requirements of the Common- 
wealth of Pennsylvania, the Institute offers its younger students an 
academic program of subjects leading to a secondary school diploma. 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for the attend- 
ance of nonimmigrant students, under the Immigration and Na- 
tionality Act. 

All students, residents of the United States or of a foreign coun- 
try, are accepted under the conditions herein set forth, on the 
scholarship basis exclusively, and pay no tuition fees. 



10' 



DIRECTOR— RUDOLF SERKIN 



The Faculty— Major Courses 



VOICE DEPARTMENT 

Richard Lewis Eufemia Giannini Gregory 

VOCAL REPERTOIRE 

Vladimir SokolofF Franz Rupp 

OPERA DEPARTMENT 

Max Rudolf 

(Beginning with the i^jo-i^ji school year) 

Elizabeth Westmoreland Martha Halbwachs Massena 

Lawrence L. Smith 



PIANO 

Rudolf Serkin Mieczyslaw Horszowski 

Eleanor SokolofF Seymour Lipkin 



ORGAN 

Alexander McCurdy 



11 



THE FACULTY — Major Courses (Continue^ 



Ivan Galamian 



VIOLIN 

Jascha Brodsky 



Paul Makanowitzky 



Max AronofF 



VIOLA 



Joseph de Pasquale 



Orlando Cole 



VIOLONCELLO 



David Soyer 



DOUBLE BASS 
Roger Scott 



HARP 
Marilyn Costello 



FLUTE 
John C. Krell 
Murray W. Panitz 



OBOE 

John de Lancie 



CLARINET 

Anthony Gigliotti 



BASSOON 

Sol Schoenbach 



HORN 

Mason Jones 



TRUMPET 
Gilbert D. Johnson 



TROMBONE 

M. Dee Stewart 
Glenn Dodson 



TUBA 

Abe Torchinsky 



PERCUSSION 

Gerald Carlyss 



12 



FACULTY — Supplementary Courses 



COMPOSITION 

Samuel Barber 



THEORY 



Matthew Colucci 
Robert D. Levin 



Vladimir SokolofF 
Marion Zarzeczna 
Diedre Irons Gold 



Eugene Ormandy 



Louis Martin 
Mary Anthony Cox 



SUPPLEMENTARY PIANO 

Martha Halbwachs Massena 

Freda Pastor 

Joy Pottle Smith 



ORCHESTRA 



William Smith 



Arnold Steinhardt 
John Dalley 



CHAMBER MUSIC 

Jascha Brodsky 

GUARNERI QUARTET 



Michael Tree 
David Soyer 



WOODWIND ENSEMBLE 
John de Lancie 



BRASS CHAMBER MUSIC 
Gilbert D. Johnson 



BRASS ENSEMBLE 
Mason Jones 



French 



LANGUAGES and DICTION 

German Russian 

Stepha Gerassi 

Sebastiano Di Blasi 

Therese Casadesus Rawson 



Italian 



ACADEMIC TUTORING 

Elizabeth S. Ludwig 

Katherine C. Krause 

Stephen B. Harris 



13 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by a physician's certificate of health, tran- 
script of High School and/or other academic records. An appli- 
cant enrolled as a student at another school of music or studying 
with a private teacher will be considered for an audition or 
examination only if the application form is accompanied by 
written permission from the school and/or the private teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled, and The Curtis Institute of Music 
accompanist provided when needed, on dates for each subject 
when our faculty is available. Please do not request changes in 
appointments as they cannot be granted. 

School Year 1970-1971 

Auditions will be scheduled in March, April and May 1970, 
for those Departments in which there are vacancies to be filled. 

Everyone requesting an audition should send for an application 
form stating his or her major subject and date of birth. This appli- 
cation form can be obtained, on request, after December 15, 1969, 
when department vacancies will have been determined, and 
must be completed and returned with supporting documents 
before February 1, 1970. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia, Pennsylvania 19103 

• 14- 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing latitude in the selec- 
tion of works to be presented. While the choice of composition 
is important, performance carries greater weight. 

The final decision as to the suitability of an applicant for 
acceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise of 
development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A knowledge of the piano, 
and of the theory of music, is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 



VOICE 

Applicants shall submit from memory four selections showing 
the character, quality, and personality of voice and singer, of 
which one at least should be in English. They should be chosen 
from the standard operatic and oratorio recitatives and arias; 
German Lieder; Italian songs of the Seventeenth and Eighteenth 
Centuries; French songs (either of the 'Bergerette' type or of 
the Nineteenth and Twentieth Centuries); English songs of any 
period which have artistic merit. 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 



Age requirement: Women should be between eighteen and twenty- 
six, men between twenty and thirty. 



15 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Examination 

PIANO 

Applicants shall play from memory: 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Mozart sonata (to be chosen from Nos. 283, 309-10-11, 
330-31^31-33, 457 , 570, 576 in the Kochel catalogue') or a Beethoven 
sonata, complete; 3) two selections — one slow and one brilliant 
— from the works of Chopin. 

Age requirement: Applicants should be under twenty-one. 

COMPOSITION 

Applicants shall state date of birth, the period of study devoted 
to composition and the name, or names, of their instructor. 

They will also submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail 
during the months of October through April, and if, on exami- 
nation, further consideration is prompted, an application form 
will be provided. Postage must accompany manuscripts and 
material which applicants desire to have returned. 

Age requirement: Applicants should be under twenty-five. 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 

Applicants shall also play the following at the piano: 1) a study; 
2) a nocturne or other slow movement. 

Age requirejnent: Applicants should be under twenty-one. 

HARP 
Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works 
from contemporary literature. 

Age requirement: Applicants should be under twenty-two. 



16 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Examination 

VIOLIN 

In addition to playing all major and minor scales and arpeggios 
in fluent tempo, applicants under fourteen years of age shall play 
from memory: 1) the Kreutzer violin etudes or Rode etudes; 
2) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play (besides all 
major and minor scales and arpeggios in fluent tempo) from 
memory: 1) a Bach sonata for Violin alone; 2) etudes by Dont 
or Paganini; 3) a concerto of Mozart, Spohr, Beethoven, Brahms, 
Paganini, Mendelssohn, Vieuxtemps, Wieniawski, Goldmark 
or Bruch. 

Age requirement: Applicants should be under tv^enty-one. 

VIOLA 

In addition to playing all major and minor scales and arpeggios 
in fluent tempo, applicants under sixteen years of age shall play 
from memory: 1) Kreutzer violin etudes; 2) Caprices of Cam- 
pagnoli, Op. 22; 3) the Handel-Casadesus concerto or the 
Stamitz concerto. 

Applicants over sixteen years of age shall choose, in addition 
to the above, one of the follow^ing works: 1) The Bloch Suite 
for Viola and Orchestra; 2) Der Schwanendreher by Paul 
Hindemith; 3) The William Walton concerto; 4) The Bela 
Bartok concerto. 

Age requirement: Applicants should be under twenty-one. 

VIOLONCELLO 

In addition to playing all major and minor scales and arpeggios 
in fluent tempo, applicants shall play from memory: 1) an 
etude or a caprice by Franchomme or Piatti or Duport; 2) a 
fast and a slow movement from a Bach suite; 3) a concerto 
from the standard repertoire or a sonata by Beethoven or Brahms 
or a modern composer. 

Age requirement: Applicants should be under twenty-one. 

• 17- 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Exa^nination 

DOUBLE BASS 
Applicants should possess a good ear, sense of rhythm and the 
ability to read at sight. They shall play: 1) all the scales, inter- 
vals and arpeggios; 2) a solo piece. 

Age requirement: Applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 

Applicants should possess a good ear, sense of rhythm and 
tone, and the ability to read at sight. They shall demonstrate 
familiarity with all major and minor scales and arpeggios, be 
prepared to play one movement of a concerto or sonata and be 
able to read an orchestral excerpt. 

Age requirement: Applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 
Applicants should possess physical aptitude for the chosen 
instrument, a good ear, sense of rhythm and the ability to 
read at sight. They shall play: TRUMPET: 1) etudes from 
Bousquet and Charlier or equivalent; 2) one etude of student's 
choice should be in melodic style; 3) Joseph Haydn Trumpet 
concerto or equivalent; 4) orchestral excerpts. Student must 
display at least rudimentary knowledge of transposition. 
TROMBONE: Arban etudes, Kopprasch etudes, Blume studies 
and a contemporary solo by Bozza. Fluent reading of bass, 
tenor and alto clefs. Orchestral excerpts. TUBA: Arban Trom- 
bone Etudes, or Arban-Bell Tuba Etudes; Bell Daily Routine 
(scales, longtones and double and triple tonguing); orchestral 
excerpts. 
Age requirement: Applicants should be under twenty-one. 

PERCUSSION, TYMPANI 
Applicants should possess a good ear, sense of rhythm, the 
ability to read at sight, show aptitude for the instrument and 
shall be prepared to play a solo on the snare drum, marimba 
and tympani. 

Age requirement: Applicants should be under twenty-one. 



•18- 



MINIMUM COURSE REQUIREMENTS 

(Entrance Requirements, pages 14-18) 
For the Diploma 
The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Nlusic 
Prerequisite: The satisfactory completion of a four year High 
School, Preparatory School, or, the equivalent of a High School 
education. Foreign students must submit evidence of equivalent 
academic training. Under exceptional circumstances, students 
who have virtually completed the normal four year program 
in three years, will be considered. 

The degree is given upon the completion of four or more years 
of study in any major course, providing a total of 120 Semester 
Hours, comprising 60 Semester Hours of Applied Music includ- 
ing the major, 30 Semester Hours in Theory and 30 Semester 
Hours in Academic subjects. A high standard of excellence 
must be maintained throughout the entire period. 

Prescribed minimum requirements in theory and supplementary 
applied subjects may be eliminated by examination, but will 
not provide semester hour credits. The Institute will give 
credit for academic and theory subjects at an accredited college, 
university or music school, earned either before admission or 
during the period of enrollment, but reserves the privilege to 
examine all candidates before granting the transfer of credits. 

For the Degree NLaster of M.usic 
(Given only in Composition) 

Prerequisite: A Bachelor of Music degree in Composition, meet- 
ing the requirements of The Curtis Institute of Music. 

The Master's degree is given at the completion of not less than 
two years of graduate study in Composition, with a total of 
24 Semester Hour Credits. 

The Thesis requirement may consist of an extended original 
composition for full orchestra, for chorus and orchestra or for 
one or more acts of opera. 



19' 



MINIMUM COURSE REQUIREMENTS — Continued 



Supplementary Theoretical Courses 
(Theory requirements to depend on placement examinations) 

For the Diploma 

Sight-Singing and Dictation: 1, 2 

Fundamentals of Music Theory 

Harmony: 1 

Keyboard Harmony: 1 

Counterpoint 

History of Music through Analysis: 1 



For the Degree Bachelor of TS/lusic 

Sight-Singing and Dictation: 1, 2, 3 

Fundamentals of Music Theory 

Harmony: 1, 2 

Keyboard Harmony: 1, 2 

Counterpoint 

Fugue 

History of Music through Analysis: 1, 2 

Electives : 

(One to be chosen for Degree 
program; optional for Diploma) 
Orchestration 
Contemporary Techniques 



20' 



MINIMUM COURSE REQUIREMENTS — Continued 

Supplementary Applied Subjects 

The following are required courses for admission to the Diploma 
or the Bachelor of Music degree. 

Supplementary Piano course may be eliminated by examination! . 



Piano: 1, 2 
Diction 

Voice / Vocal Repertoire 

Languages 
Opera Class 



Piano Chamber Music 



Organ Piano; 1, 2 



/ Piano: 1, 2 

Harp < Harp Ensemble 

f Orchestra 



^^'^^ (/Piano:l,2 

,r > < Chamber Music 

Violoncello l ) ^ , 

Double Bass ) I Orchestra 



Flute \ 

Oboe t ( Piano : 1 

Clarinet >< Woodwind Ensemble 

Bassoon I ( Orchestra 

Horn / 



?"^^^^ / rPiano:! 

IrOMBONE I J D -c II 

~ >< Brass hnsemble 

r, '^ I I Orchestra 

Percussion 7 ^ 

Composition Piano : 1 , 2 



21- 



OPERA DEPARTMENT 

Beginning in the jail 1970 

PURPOSE 

Professional operatic training is offered to young singers of 
outstanding talent. A group of approximately twenty singers 
will receive instruction with equal emphasis on individual 
training and ensemble. 

TEACHING STAFF 
The staff, headed by Max Rudolf, will consist of two full time 
musical coaches, assistant coaches, an operatic stage director, 
dramatic teacher, and other instructors. 

TRAINING PROGRAM 

The weekly schedule will provide for four one-hour lessons 
of individual musical coaching, ensemble sessions, dramatic 
instruction, language courses, staging of operatic scenes and 
complete operas. Classes in eurhythmies, fencing, and make-up 
are also planned. 

GUIDANCE 
Mr. Rudolf will make himself available to the students for 
consultation with regard to study planning, repertoire, and 
other questions pertaining to the students' careers. 

PERFORMING OPPORTUNITIES 

During the 1970-71 school year the Opera Department will pre- 
sent one operatic work in several public performances with 
orchestra. It is expected that these activities will be extended 
the following year. Staged presentations of operatic excerpts 
with piano accompaniment will be undertaken as frequently as 
possible including a project to perform for young audiences. 

REQUIREMENTS 

Aside from vocal quality and general promise applicants must 
have acquired preliminary operatic training and prove in audi- 
tion that their vocal technique has developed to a point where 
professional work can be attempted successfully. 



22 



OPERA DEPARTMENT — Continued 

ADMISSION 

Admission to the Opera Department is not limited to students 
taking a complete music course, nor are students obliged to 
enroll in a voice class. However, they may work towards a 
diploma under special arrangements. 

COURSES FOR COACHES AND CONDUCTORS 

Qualified pianists may apply to study operatic literature, coach- 
ing techniques and accompaniment under Mr. Rudolf's super- 
vision. In addition, a master class in operatic conducting is 
planned for advanced students. 

Fall auditions for the 1970-71 opera department will be held on 
November 25 and November 26, 1969. Application forms may 
be obtained on request and must be completed and returned by 
October 25, 1969. 

Spring auditions for the 1970-71 opera department will be held 
in March, 1970. Application forms, for the Spring auditions, 
can be obtained, on request, after December 15, 1969 and must 
be completed and returned before February 1, 1970. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia, Pennsylvania 19103 



23 



GENERAL INFORMATION 



Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

The School has no dormitories, living accommodations and 
expenses are the responsibility of the student. 

All students are on probation during their entire period of 
enrollment, and may be dropped at any time for failure to 
progress according to the standards of the Faculty. 

Students are expected to provide their own music for major 
subjects. Music for secondary piano, ensemble and orchestral 
classes is supplied from the school library. 

Students are permitted to accept professional engagements only 
with the approval of the Director. 

The school collection of instruments includes string instruments 
of the Italian, French and English Schools, Steinway pianos, 
Lyon and Healy harps, orchestral instruments. The organ in 
Curtis Hall is a five-manual with 98 ranks of pipes, built by 
Aeolian-Skinner. 

The Library contains a large collection of solo, ensemble, 
orchestra and opera music. Critical editions of the great classical 
composers and other definitive collections are on reference. 
Other noteworthy collections are: the Burrell Collection of 
Wagneriana; the Carlos Salzedo Bequest of harp music; the 
William Kincaid library of flute music and the Anton Torello 
gift of double bass music. There are a number of rare manu- 
scripts and first editions. 

The auditorium, Curtis Hall, provides facilities for faculty and 
student recitals, organ teaching and practice, school gatherings 
and commencement exercises. In general, lessons, classes and 
rehearsals are scheduled for afternoons, mornings are devoted 
to practice. Designated practice studios are provided at the 
Institute. 



24 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Rudolf Serkin Director 

Anthony Checchia Assistant to the Director 

Henriette Speiser Secretary to the Director 

Thelma W. Brunson Secretary of Admissions 

Inger-Marie Chamberlain Registrar 

Anne Fickes Receptionist 

Gordon Mapes Head Librarian 

Howard Ferguson Librarian 

Helen Squire Librarian 

Sumner W. Stevenson Comptroller 

Maud Louise Ly tie Secretary to the Comptroller 

Daniel M. Llewellyn Chief Accountant 

Harriet Dungan Secretary to the Chief Accountant 

Endel Kalam Coordinator for Chamber Music 



25' 



LIST OF STUDENTS 

1968-1969 

Alston, Fred Philadelphia, Pennsylvania 

Angell, Cecilia Lima, Peru 

Appel, Toby Elmer, New Jersey 

Berkowitz, Paul Montreal, Quebec, Canada 

Bobbett, Valerie Florence, South Carolina 

Boodley, Pamela Trenton, New Jersey 

Bryson, Tim Brevard, North Carolina 

Canzoneri, Julian Newton, Kansas 

Carter, James Havertown, Pennsylvania 

Catania, Claudia Drexel Hill, Pennsylvania 

Cornwell, Susan Ocean City, New Jersey 

Edwards, Stephen West Collingswood, New Jersey 

Elbeck, Lance Rockford, Illinois 

Epperson, Bryan Salt Lake City, Utah 

Fields, James Los Angeles, California 

Finckel, Christopher Bennington, Vermont 

George, David Camp Hill, Pennsylvania 

Gonzaga, Otoniel Upper Darby, Pennsylvania 

Goodman, Erica Toronto, Ontario, Canada 

Goodman, Gordon* Huntington Woods, Michigan 

Grossman, Jerry Cambridge, Massachusetts 

Gundlach, Louise Penfield, New York 

Halbkram, Ruth Wroclaw, Poland 

Heifetz, Daniel Beverly Hills, California 

Hoca, Claudia Kenmore, New York 

Horn, William Bala-Cynwyd, Pennsylvania 

Hough, James Philadelphia, Pennsylvania 

Hustis, Gregory Richmond, Virginia 

Janes, Susan Birmingham, Alabama 

Joanou, Amalia Detroit, Michigan 

Johnson, Kay Los Alamos, New Mexico 

Kaihoko, Masatake Sendai, Japan 

Kendel, Robert La Crescenta, California 

Khursedji, Hilla Bombay, India 

Kim, Young Uck Seoul, Korea 

Koester, Robert Rutherford, New Jersey 

Koljonen, Vendla Dearborn, Michigan 

Krisel, Karen Dearborn, Michigan 

La Salle, Pamela Seattle, Washington 

Lawrence, Mark Grosse Point, Michigan 

*Withdrew before the close of the year 



26' 



LIST OF STUDENTS — Continued 

Lehwalder, Heide Seattle, Washington 

Levin, Beth Philadelphia, Pennsylvania 

Levy, Jill Bala-Cynwyd, Pennsylvania 

Matosich, Victoria Hibbing, Minnesota 

McElroy, John Atlanta, Georgia 

McLaughlin, Christopher .Los Angeles, California 

Meyer, Susan* Shawnee Mission, Kansas 

Michaelian, Patricia San Francisco, California 

Miller, Sandra Lincolnton, North Carolina 

Milliner, Kim* West Chester, Pennsylvania 

Miyakawa, Milton* Fort Gordon, Georgia 

Morgan, Michael High Point, North Carolina 

Moriarty, Deborah Lowell, Massachusetts 

Munafo, Frank Upper Darby, Pennsylvania 

Nies, Craig Long Beach, California 

Page, Carol Philadelphia, Pennsylvania 

Park, Mi-Young Seoul, Korea 

Patota, Anthony Philadelphia, Pennsylvania 

Phibbs, Milton Takoma Park, Maryland 

Pironti, Patricia Springfield, Ohio 

Rappaport, Jack Philadelphia, Pennsylvania 

Rea, Gary Scotia, New York 

Rex, Chris Gettysburg, Pennsylvania 

Rice, Heide Tuscaloosa, Alabama 

Sanbrotti, Daniel Camden, New Jersey 

Sanders, Irvin Washington, Pennsylvania 

Schiff, Zina Los Angeles, California 

Schulte, Rolf Koln-Dellbruck, Germany 

Seiver, Rebecca Villanova, Pennsylvania 

Serkin, Judy Philadelphia, Pennsylvania 

Shay, Michaelene Philadelphia, Pennsylvania 

Shearer, Nancy Waterbury, Connecticut 

Shifrin, David Flushing, New York 

Singer, David Canoga Park, California 

Sitterly, James* Palos Verdes Estates, California 

Snowdon, Patricia Philadelphia, Pennsylvania 

Souza, Robert Fairhaven, Massachusetts 

Stairs, Michael Augusta, Maine 

Stasis, Patricia Philadelphia, Pennsylvania 

Steinruck, Mark Berwick, Pennsylvania 

Stephenson, Mark Philadelphia, Pennsylvania 

Stimpson, George Fairhope, Alabama 

*Withdrew before the close of the year 

• 27- 



LIST OF STUDENTS — Continued 

Sunkett, Mark Philadelphia, Pennsylvania 

Takeuti, Kiyoko Champaign, Illinois 

Talvi, Ilkka Kuusankoski, Finland 

Tsumura, Mari Kobe, Japan 

Tuma, Elizabeth Walled Lake, Michigan 

Turk, Gordon - Browns Mills, New Jersey 

Villarreal, Sylvia San Antonio, Texas 

Vischoric, Jo Ann Camden, New Jersey 

Vole, Gaby Tel- Aviv, Israel 

Walker, Charles Westville, New Jersey 

Washburn, Diana Overland Park, Kansas 

Watson, Karl Belding, Michigan 

Watson, Regina Columbus, Georgia 

Watts, Christine Devon, Pennsylvania 

Weber, David Charlotte, North Carolina 

Weeks, Larry Cedar Springs, Michigan 

Weimer, Patricia Princeton, New Jersey 

Weiss, Abe Los Angeles, California 

Wiley, Peter Utica, New York 

Wilkins, Carla Seaford, Delaware 

Williams, Donald La Mirada, California 

Willis, Andrew Cincinnati, Ohio 

Windt, Paul Pittsburgh, Pennsylvania 

Wise, Herschel Philadelphia, Pennsylvania 

Wolfgang, Randall Catawissa, Pennsylvania 

Woltman, Martin York, Pennsylvania 

Young, Gary*. San Jose, California 

Zupnik, Marilyn Pepper Pike, Ohio 

*Withdrevv before the close of the year 



28 



GRADUATES 

May, 1969 

Diploma 

Norma Hirsh Barsky 
Weldon H. Berry, Jr. 
Deborah Carter 
Mark I. Childs 
John Gaudette 
George Harpham 
Michael C. Korn 
Gary Logsdon 
Loran D. Stephenson, Jr. 
Mikiko Usui 



Bachelor of Music Degree 

Kendall Betts 
Roger D. Blackburn 
Alice L. Kennedy 
Francis J. Ryan, Jr. 
John H. Tuttle, Jr. 



29 



COLLEGE AND GRADUATE SCHOOL 
CALENDAR 

1969-1970 



September 15 CMonday) i d • • r j 

„ -^ )_ , ■' ( )■ Registration or new students 

SEPTEMBER 16 (^iuesdayj ) 

September 17 (Wednesdav) | t> • ■ r u j 

„ - _ )_, , < )• Registration or old students 

September 18 (^inursday^ j 



September 19 (Friday) First Term opens 



November 27 (Thursday) ) t-l i •■ -v?^ • 

1,-r TO )c -1 > ) Thanksgiving Vacation 

November 28 (Friday) j t' » 



December 12 (Friday Evening) The President's Party 

December 19 (Friday) | /-i • \t ■ 

_ . ^n 1 N ) Christmas Vacation 

January 4 (Sunday) I 

January 5 (Monday) School re-opens 

January 23 (Friday) First Term ends 

January 26 (Monday) Second Term begins 



March 23 (Monday) ) . 

. -, ^„7 1 IN / haster Vacation 

April 1 (Wednesday) j 



May 15 (Friday) Last day of instruction 

May 18 (Monday) Commencement 

Recitals as scheduled 
• 30- 



SECONDARY SCHOOL 
CALENDAR 

1969-1970 
September 15 (Monday) First Term opens 

November 27 (Thursday) ) tu ^ ■ ■ ^r ^■ 

^„ ;^ . , N ) Inankseivine Vacation 

November 28 (Friday) / s 5 

December 12 (Friday Evening) The President's Party 



December 19 (Friday) \ Christmas Vacation 

January 4 (Sunday) 



January 5 (Monday) School re-opens 

January 23 (Friday) First Term ends 

January 26 (Monday) Second Term begins 



March 26 (Thursday) \ ^^^^^^ Vacation 

March 29 (Sunday) j 



June 12 (Friday) Last day of instruction 



31 




MAIN ENTRANCE 
THE CURTIS INSTITUTE OF MUSIC 



THE 

CURTIS 
INSTITUTE 

OF 

MUSIC 



PHILADELPHIA 



19 7 • 19 7 1 




THE 
CURTIS INSTITUTE OF MUSIC 




CATALOGUE 

1970-1971 



RITTENHOUSE SQUARE 
PHILADELPHIA, PENNSYLVANIA 19103 



COPYRIGHT 1970, BY 
THE CURTIS INSTITUTE OF MUSIC 




MARY CURTIS ZIMBALIST 
Founder 




RUDOLF SERKIN, Director 



THE CURTIS INSTITUTE OF MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA, PENNSYLVANIA 19103 



OFFICERS 

President 
Gary W. Bok 

Vice-President 
William Carson Bodine 

Treasurer 
Jay H. Mattis 

Secretary 
Sumner W. Stevenson 



Gary W. Bok 
Jay H. Mattis 



BOARD OF DIRECTORS 

Nellie Lee Bok 

A. Margaret Bok 

William Garson Bodine 



Edith Evans Braun 
Samuel Barber 



; 



THE CURTIS INSTITUTE OF MUSIC 

Rudolf Serkin, Director 



THE CURTIS INSTITUTE OF MUSIC was founded in 1924 

To hand down through contemporary masters 
the great traditions of the past 

To teach students to build on this heritage 
for the future 

The School is operated under a Charter granted by the Common- 
wealth of Pennsylvania and is also included in the list of "Colleges 
and Universities in Pennsylvania approved by the State Council of 
Education for the Granting of Degrees" 

To meet the compulsory educational requirements of the Common- 
wealth of Pennsylvania, the Institute offers its younger students an 
academic program of subjects leading to a secondary school diploma. 

The United States Government has duly approved The Curtis 
Institute of Music as an institution of learning for the attend- 
ance of nonimmigrant students, under the Immigration and Na- 
tionality Act. 

All students, residents of the United States or of a foreign coun- 
try, are accepted under the conditions herein set forth, on the 
scholarship basis exclusively, and pay no tuition fees. 



10' 



DIRECTOR— RUDOLF SERKIN 



The Faculty— Major Courses 



Margaret Harshaw 
Ellen Rulau 



VOICE DEPARTMENT 



Charles Kullman 
Richard Lewis 



Vladimir SokolofF 



VOCAL REPERTOIRE 



Franz Rupp 



David EfFron 



OPERA DEPARTMENT 

Max Rudolf 
Dine Yannopoulos 

Rhoda Levine 



Sylvia Lee 



Rudolf Serkin 
Eleanor SokolofF 



PIANO 



Mieczyslaw Horszowski 
Seymour Lipkin 



ORGAN 

Alexander McCurdy 



11 



THE FACULTY— Major Courses (Continued^ 



Ivan Galamian 



Max AronofF 



Orlando Cole 



FLUTE 
John C. Krell 
Murray W. Panitz 

BASSOON 

Sol Schoenbach 

TROMBONE 

Glenn Dodson 
M. Dee Stewart 



VIOLIN 

Jascha Brodsky 
VIOLA 

VIOLONCELLO 

DOUBLE BASS 
Roger Scott 



HARP 

Marilyn Costello 



OBOE 

John de Lancie 

HORN 

Mason Jones 

TUBA 

Abe Torchinsky 



Paul Makanowitzky 

Joseph de Pasquale 
David Soyer 



CLARINET 

Anthony Gigliotti 



TRUMPET 

Gilbert D. Johnson 

PERCUSSION 

Gerald Carlyss 



PREPARATORY DEPARTMENT 
PIANO 



Mieczyslaw Horszowski 
Paul Makanowitzky 



VIOLIN 

VIOLONCELLO 

Orlando Cole 



Diedre Irons 



Yumi Ninomiya 



12 



FACULTY — Supplementary Courses 



Samuel Barber 



COMPOSITION 



Gian-Carlo Menotti 



THEORY 



Matthew Colucci 
Mary Anthony Cox- 
Myron Fink 



Vladimir Sokoloff 
Diedre Irons 



Eugene Ormandy 



Jascha Brodsky 

Arnold Steinhardt 
John Dalley 



James Harrison 

Robert D. Levin 

Louis Martin 



SUPPLEMENTARY PIANO 

Martha Halbwachs Massena 
Freda Pastor 
Marion Zarzeczna 



ORCHESTRA 

Max Rudolf 



CHAMBER MUSIC 

GUARNERI QUARTET 



William Smith 



Mischa Schneider 

Michael Tree 
David Soyer 



WOODWIND ENSEMBLE BRASS CHAMBER MUSIC 

John de Lancie Gilbert D. Johnson 

BRASS ENSEMBLE 

Mason Jones 



LANGUAGES and DICTION 
English French German Italian Russian 

Sebastiano Di Blasi Srepha Gerassi Therese Casadesus Rawson 

Elizabeth Westmoreland Daniela Siena 



ACADEMIC STUDIES 

Stepha Gerassi, Russian and German Literature 

Elizabeth S. Ludwig, Social Sciences 

Patrick J. Nolan, English Composition 



ACADEMIC TUTORING 

Elizabeth S. Ludwig 
Nick J. Pavicic 
Lawrence Seiver 



13 



ENTRANCE REQUIREMENTS 

Application for Audition or Examination 

Students are accepted only after an audition or the examination 
of original compositions submitted. The qualifications for audi- 
tion or examination are given on the following pages. 

The applicant is required to fill out an application form and to 
give in detail all requested information. The application form 
must be accompanied by a physician's certificate of health, tran- 
script of High School and/or other academic records. An appli- 
cant enrolled as a student at another school of music or studying 
with a private teacher will be considered for an audition or 
examination only if the application form is accompanied by 
written permission from the school and/or the private teacher. 

Requests for the return by mail of personal property that has 
been submitted with the application form should be accompanied 
by the necessary postage. 

Auditions are scheduled, and The Curtis Institute of Music 
accompanist provided when needed, on dates for each subject 
when our faculty is available. Please do not request changes in 
appointments as they cannot be granted. 

School Year 1971-1972 

Auditions will be scheduled in March, April and May 1971, 
for those Departments in which there are vacancies to be filled. 

Everyone requesting an audition should send for an application 
form stating his or her major subject and date of birth. This appli- 
cation form can be obtained, on request, after December 15, 1970, 
when department vacancies will have been determined, and 
must be completed and returned with supporting documents 
before February 1, 1971. 

All communications should be addressed to 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia, Pennsylvania 19103 

• 14- 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Examination 

The qualifications for receiving an audition or examination are 
presented here in a general form, allowing latitude in the selec- 
tion of works to be presented. While the choice of composition 
is important, performance carries greater weight. 

The final decision as to the suitability of an applicant for 
acceptance rests upon the evidence of talent shown rather than 
upon the degree of advancement already attained. Admission is 
limited to those whose inherent musical gift shows promise of 
development to a point of professional quality. 

Applicants in any subject may be asked to show the degree of 
their attainments in sight-reading. A knowledge of the piano, 
and of the theory of music, is desirable. 

The auditors are not obliged to hear all that an applicant may 
have in readiness nor to comply with requests for criticism of 
applicants not accepted. 

VOICE 

Applicants shall submit four selections performed from memory 
and showing the character and quality of voice and musician- 
ship. One selection should be in English. Audition material 
should be chosen from the standard operatic and oratorio 
repertoire, German Lieder; old Italian songs; French and English 
songs of any period which have artistic merit. 

Clear diction and accurate pronunciation in one foreign language 
will be considered of higher value than a casual and inaccurate 
use of several. 

Age requirement: Women should be between eighteen and twenty- 
six, men between twenty and thirty. 

PIANO 

Applicants shall play from memory: 1) a prelude and fugue from 
The Well-Tempered Clavichord or a three-part invention of 
Bach; 2) a Mozart sonata (to be chosen from Nos. 283, 309-10-11, 

• 15- 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Examination 

330-3i-32-33, 457, 570, 576 in the Kochel catalogue) or a Beethoven 
sonata, complete; 3) two selections — one slow and one brilliant 
— from the works of Chopin. 

Age requirement: Applicants should be under twenty-one. 

COMPOSITION 

Applicants shall state date of birth, the period of study devoted 
to composition and the name, or names, of their instructor. 

They will also submit several original compositions. Orchestral 
compositions may be submitted, but are not required. 

Applicants should send their manuscripts by registered mail 
during the months of October through April, and if, on exami- 
nation, further consideration is prompted, an application form 
will be provided. Postage must accompany manuscripts and 
material which applicants desire to have returned. 

Qualified students not majoring in composition may study it as a 
minor, as part of the theory program. See course list on page 20. 

Age requirement: Applicants should be under twenty-five. 

ORGAN 

Applicants shall play from memory: 1) a fugue or prelude and 
fugue or a principal movement from a sonata or symphony; 
2) a trio; 3) a scherzo; 4) a slow movement. 
Applicants shall also play the following at the piano : 1) a study; 
2) a nocturne or other slow movement. 

Age requirement: Applicants should be under twenty-one. 

HARP 

Applicants should possess a thorough knowledge of the funda- 
mental principles of contemporary harp playing. A knowledge 
of piano playing is desirable. Applicants shall submit from 
memory two transcriptions from the classics and two works 
from contemporary literature. 

Age requirement: Applicants should be under twenty-two. 

• 16- 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Examination 

VIOLIN 

In addition to playing all major and minor scales and arpeggios 
in fluent tempo, applicants under fourteen years of age shall play 
from memory: 1) the Kreutzer violin etudes or Rode etudes; 
2) a concerto of Mozart, Spohr, or Mendelssohn. 

Applicants over fourteen years of age shall play (besides all 
major and minor scales and arpeggios in fluent tempo) from 
memory: 1) a Bach sonata for Violin alone; 2) etudes by Dont 
or Paganini; 3) a concerto of Mozart, Spohr, Beethoven, Brahms, 
Paganini, Mendelssohn, Vieuxtemps, Wieniawski, Goldmark 
or Bruch. 

Age requirement: Applicants should be under twenty-one. 

VIOLA 

In addition to playing all major and minor scales and arpeggios 
in fluent tempo, applicants under sixteen years of age shall play 
from memory: 1) Kreutzer violin etudes; 2) Caprices of Cam- 
pagnoli. Op. 22; 3) the Handel-Casadesus concerto or the 
Stamitz concerto. 

Applicants over sixteen years of age shall choose, in addition 
to the above, one of the following works : 1) The Bloch Suite 
for Viola and Orchestra; 2) Der Schwanendreher by Paul 
Hindemith; 3) The William Walton concerto; 4) The Bela 
Bartok concerto. 

Age requirement: Applicants should be under twenty-one. 

VIOLONCELLO 

In addition to playing all major and minor scales and arpeggios 
in fluent tempo, applicants shall play from memory: 1) an 
etude or a caprice by Franchomme or Piatti or Duport; 2) a 
fast and a slow movement from a Bach suite; 3) a concerto 
from the standard repertoire or a sonata by Beethoven or Brahms 
or a modern composer. 

Age requirement: Applicants should be under twenty-one. 

• 17- 



ENTRANCE REQUIREMENTS — Continued 
Qualifications for Audition or Examination 

DOUBLE BASS 
Applicants should possess a good ear, sense of rhythm and the 
ability to read at sight. They shall play: 1) all the scales, inter- 
vals and arpeggios; 2) a solo piece. 
Age requirement: Applicants should be under twenty-one. 

FLUTE, OBOE, CLARINET, BASSOON, HORN 
Applicants should possess a good ear, sense of rhythm and 
tone, and the ability to read at sight. They shall demonstrate 
familiarity with all major and minor scales and arpeggios, be 
prepared to play one movement of a concerto or sonata and be 
able to read an orchestral excerpt. 
Age requirement: Applicants should be under twenty-one. 

TRUMPET, TROMBONE, TUBA 
Applicants should possess physical aptitude for the chosen 
instrument, a good ear, sense of rhythm and the ability to 
read at sight. They shall play: TRUMPET: 1) etudes from 
Bousquet and Charlier or equivalent; 2) one etude of student's 
choice should be in melodic style; 3) Joseph Haydn Trumpet 
concerto or equivalent; 4) orchestral excerpts. Applicant must 
display at least rudimentary knowledge of transposition. 
TROMBONE: The audition may be performed on tenor and/or 
bass trombone. Applicant may be asked to perform orchestral 
excerpts and demonstrate his ability to read bass, tenor and 
alto clefs. Audition material should consist of suitable music 
from the applicant's current repertoire, such as works by 
Kopprasch, Blazhevich, Bozza, Rochut, and others of a similar 
category. TUBA: Arban Trombone Etudes, or Arban-Bell Tuba 
Etudes; Bell Daily Routine (scales, longtones and double and 
triple tonguing); orchestral excerpts. 
Age requirement: Applicants should be under twenty-one. 

PERCUSSION, TYMPANI 
Applicants should possess a good ear, sense of rhythm, the 
ability to read at sight, show aptitude for the instrument and 
shall be prepared to play a solo on the snare drum, marimba 
and tympani. 
Age requirement: Applicants should be under twenty-one. 

•18- 



REVISION Page 19 - 1970-1971 Catalogue 
MINIMUM COURSE REQUIREMENTS 

CEntrance Requirements, pages 14-18) 
For the Diploma 
The Diploma is given at the completion of three or more years 
of study in any major course. The candidate must have main- 
tained a high standard of excellence during the entire period 
both in his major and supplementary courses. 

The prescribed minimum work to be covered in Theory and sup- 
plementary applied subjects is outlined on the following pages. 

For the Degree Bachelor of Music 
Prerequisite: The satisfactory completion of a four year High 
School, Preparatory School, or, the equivalent of a High School 
education. Foreign students must submit evidence of equivalent 
academic training. Under exceptional circumstances, students 
who have virtually completed the normal four year program 
in three years, will be considered. 

The degree is given upon the completion of four or more years 
of study in any major course, providing a total of 120 Semester 
Hours, comprising 60 Semester Hours of Applied Music includ- 
ing the major, 30 Semester Hours in Theory and 30 Semester 
Hours in Academic subjects. A high standard of excellence 
must be maintained throughout the entire period. 

The revised theory curriculum for the Bachelor of Music Degree Is 
as follows: 
Year Courae 
IT (Theory 

(Principles of Modal 

Counterpoint (Species) 
Solfege I 

2 Solfege II 
Harmony I 
Keyboard Harmony I 

3 Solfege III 
(Harmony II 
(Principles of Tonal 

Counterpoint 
Keyboard Harmony II 

h Analysis (II) 

Prescribed minimum requirements in theory and supplementary 
applied subjects may be eliminated by examination, but will 
not provide semester hour credits. The Institute will give 
creait tor academic suoiects at an accreuited college, university 
or music school, earned either before admission or during the 
period of enrollment, but reserves the privilege to examine 
all candidates before granting the transfer of credits. 

• 19- 



Semester 


Hours per Week 


i (Ist) 
1 (2nd) 


2 

2 


2 

2 
2 
2 

2 

1 (1st) 

1 (2nd) 


4 Total 

2 
1 

5 Total 

2 
2 


2 
2 


1 

5 Total 

4 Total 



MINIMUM COURSE REQUIREMENTS — Continued 

For the Degree Master of Music 
(Given only in Composition) 

Prerequisite: A Bachelor of Music degree in Composition, meet- 
ing the requirements of The Curtis Institute of Music. 

The Master's degree is given at the completion of not less than 
two years of graduate study in Composition, with a total of 
24 Semester Hour Credits. 

The Thesis requirement may consist of an extended original 
composition for full orchestra, for chorus and orchestra or for 
one or more acts of opera. 



Courses in Music Theory 
(Theory requirements to depend on placement examinations) 

For the Diploma 

Sight-Singing and Dictation: 1, 2 

Fundamentals of Music Theory 

Harmony: 1 

Keyboard Harmony: 1 

Counterpoint 

History of Music through Analysis: 2 

For the Degree Bachelor of Music 

Sight-Singing and Dictation: 1, 2, 3 

Fundamentals of Music Theory 

Harmony: 1, 2 

Keyboard Harmony: 1, 2 

Counterpoint 

Fugue 

History of Music through Analysis: 1, 2 

Electives : 

(One to be chosen for Degree 
program; optional for Diploma) 

Orchestration 

Contemporary Techniques 

Pro-Seminar in Composition 

One-Semester seminars devoted to the music 

of individual composers. 



20' 



MINIMUM COURSE REQUIREMENTS — Continued 

Supplementary Applied Subjects 

The following are required courses for admission to the Diploma 
or the Bachelor of Music degree. 

Supplementary Piano course may be eliminated by examination. 



Piano: 1, 2 
Diction 

Voice <^ Vocal Repertoire 

Languages 
Dramatics 



Piano Chamber Music 



Organ Piano: 1, 2 



Piano: 1, 2 

Harp \ Harp Ensemble 

Orchestra 



Violin 1 / Piano: 1, 2 

Xi°^^ W Chamber Music 

Violoncello H Orchestra 

Double Bass / 



Flute \ 

Oboe \ ( Piano: 1 

Clarinet X Woodwind Ensemble 

Bassoon \\ Orchestra 

Horn ^ 



T^uMP^"^ / / Piano: 1 

Trombone U Brass Ensemble 

Tuba II Orchestra 

Percussion i 

Composition Piano: 1, 2 



21 



OPERA DEPARTMENT 

Max Rudolf, Head of Department 

Dino Yannopoulos, Stage Director 

David Effron, First Musical Assistant and Coach 

Sylvia Lee, Musical Coach 

Rhoda Levine, Drama and Dance 

PURPOSE 

Professional operatic training is offered to young singers of 
outstanding talent with equal emphasis on individual training 
and ensemble. 

TRAINING PROGRAM 

The weekly schedule provides for four one-hour lessons of 
individual musical coaching. In addition, ensemble sessions, 
dramatic instruction and language courses will be included 
weekly. 

PERFORMING OPPORTUNITIES 

The Opera Department will present operatic works in several 
public performances with orchestra. Staged presentations of 
operatic excerpts with piano accompaniment will take place 
including a project to perform for young audiences. 

REQUIREMENTS 
Aside from vocal quality and general promise, applicants must 
have acquired preliminary operatic training and prove in audi- 
tion that their vocal technique has developed to a point where 
professional work can be attempted successfully. 



22- 



OPERA DEPARTMENT — Continued 

ADMISSION 

Admission to the Opera Department is not limited to applicants 
taking a complete music course, nor are participants obliged to 
enroll in a voice class. However, they may work towards a 
degree or diploma under special arrangements. 

COURSES FOR COACHES AND CONDUCTORS 

Pianists possessing adequate training may apply to study oper- 
atic literature, coaching techniques and accompaniment under 
Mr. Rudolf's supervision. In addition, a seminar in conducting 
is offered to qualified applicants. 

Auditions for the 1971/72 Opera Department will be held in 
March, 1971. Application forms can be obtained, on request, 
after Decemember 15, 1970 and must be completed and returned 
before February 1, 1971. 

All communications should be addressed to : 

The Secretary of Admissions 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia, Pennsylvania 19103 



23 



GENERAL INFORMATION 

Students are accepted on the Scholarship basis exclusively, and 
pay no tuition fees. 

The School has no dormitories, living accommodations and 
expenses are the responsibility of the student. 

All students are on probation during their entire period of 
enrollment, and may be dropped at any time for failure to 
progress according to the standards of the Faculty. 

Students are expected to provide their own music for major 
subjects. Music for secondary piano, ensemble and orchestral 
classes is supplied from the school library. 

Students are permitted to accept professional engagements only 
with the approval of the Director. 

The school collection of instruments includes string instruments 
of the Italian, French and English Schools, Steinway pianos, 
Lyon and Healy harps, orchestral instruments. The organ in 
Curtis Hall is a five-manual with 98 ranks of pipes, built by 
Aeolian-Skinner. 

The Library contains a large collection of solo, ensemble, 
orchestra and opera music. Critical editions of the great classical 
composers and other definitive collections are on reference. 
Other noteworthy collections are: the Burrell Collection of 
Wagneriana; the Carlos Salzedo Bequest of harp music; the 
William Kincaid library of flute music and the Anton Torello 
gift of double bass music. There are a number of rare manu- 
scripts and first editions. 

The auditorium, Curtis Hall, provides facilities for faculty and 
student recitals, organ teaching and practice, school gatherings 
and commencement exercises. In general, lessons, classes and 
rehearsals are scheduled for afternoons, mornings are devoted 
to practice. Designated practice studios are provided at the 
Institute. 



24' 



EXECUTIVE AND ADMINISTRATIVE STAFF 

Rudolf Serkin Director 

Anthony Checchia Assistant to the Director 

Inger-Marie Chamberlain Secretary to the Director 

Thelma W. Brunson Secretary of Admissions 

Sheila K. Grady Registrar 

Anne Fickes Recepnonist 

Gordon Mapes Head Librarian 

Howard Ferguson Librarian 

Helen Squire Librarian 

Sumner W. Stevenson Comptroller 

Maud Louise Ly tie Secretary to the Comptroller 

Daniel M. Llewellyn Chief Accountant 

Harriet Dungan Secretary to the Chief Accountant 



25 



LIST OF STUDENTS 

1969-1970 



Adler, James Chicago, Illinois 

Alston, Fred* Philadelphia, Pennsylvania 

Angell, Cecilia Lima, Peru 

Appel, Toby* Elmer, New Jersey 

Ashby, John Philadelphia, Pennsylvania 

Baskin, Theodore Oak Park, Michigan 

Bear, Colvin Pennsauken, New Jersey 

Berkowitz, Paul Montreal, Quebec, Canada 

Berry, Weldon* Houston, Texas 

Bracken, Nancy Chesterfield, Missouri 

Buchanan, Douglas Centerville, Ohio 

Bryson, Tim Brevard, North Carolina 

Cantelm, Ronald Havertown, Pennsylvania 

Cantwell, Gregory Lansdowne, Pennsylvania 

Canzoneri, Julian Newton, Kansas 

Carman, Owen Kalamazoo, Michigan 

Carpenter, Paul Upper Darby, Pennsylvania 

Carter, James Havertown, Pennsylvania 

Caudill, Nancy Yakima, Washington 

Chapman, Lucy Hampton, Virginia 

Edwards, Carolyn Detroit, Michigan 

Edwards, Stephen West Collingswood, New Jersey 

Epperson, Bryan Salt Lake City, Utah 

Evelson, Claudio Buenos Aires, Argentina 

Fayko, Paul Prospect Park, Pennsylvania 

Fiekowsky, Sheila Detroit, Michigan 

Fields, James Los Angeles, California 

Finckel, Christopher Bennington, Vermont 

Follingstad, Karen Minneapolis, Minnesota 

Francis, James Marro Bay, California 

Geist, Judy East Meadow, New York 

George, David Camp Hill, Pennsylvania 

Gold, Barbara Bala Cynwyd, Pennsylvania 

Gonzaga, Otoniel Iloilo, Philippines 

Granger, Walter San Francisco, California 

Grossman, Jerry Cambridge, Massachusetts 

Halbkram, Ruth Wroclaw, Poland 

Heifetz, Daniel Beverly Hills, California 

Hildebrandt, Rita Philadelphia, Pennsylvania 

Hustis, Gregory Richmond, Virginia 

Jefferson, Curtis Cleveland, Ohio 

Joanou, Amalia Detroit, Michigan 

Johnson, Kay Los Alamos, New Mexico 

Kaihoko, Masatake Sendrai, Japan 

*Withdrew before the close of the year 



26' 



LIST OF STUDENTS — Continued 

Kara, Michael Utica, New York 

Kemper, Steven Seattle, Washington 

Kendel, Robert La Crescenta, California 

Ketchum, Janet Detroit, Michigan 

Khursedji, Hilla Bombay, India 

Koljonen, Vendla Dearborn, Michigan 

Lamy, Kathleen Peabody, Massachusetts 

La Salle, Pamela Seattle, Washington 

Lawrence, Mark Grosse Point, Michigan 

Lehwalder, Heide Seattle, Washington 

Levin, Beth* Philadelphia, Pennsylvania 

Levine, David New York, New York 

Levy, Jill Bala Cynwyd, Pennsylvania 

Low, Roger Danvers, Massachusetts 

Martin, Robert Roslyn, Pennsylvania 

Matosich, Victoria Hibbing, Minnesota 

McConnell, Daniel Magnolia, New Jersey 

McElroy, John Atlanta, Georgia 

McLaughlin, Christopher Los Angeles, California 

Meng, Mei-Mei White Plains, New York 

Miller, Justin Orlando, Florida 

Miller, Sandra Lincolnton, North Carolina 

Moreno, Kathleen West Chester, Pennsylvania 

Munafo, Frank Upper Darby, Pennsylvania 

Muti, Lorenzo Spoleto, Italy 

Nestler, Mary Browns Mills, New Jersey 

Nickson, Jennifer Brisbane, Australia 

Nies, Craig Long Beach, California 

Olarte, Elvira Bogota, Colombia 

Ortiz, Cristina Rio de Janeiro, Brazil 

Page, Carol Philadelphia, Pennsylvania 

Park, Mi-Young Seoul, Korea 

Parrott, Wesley Easton, Maryland 

Phibbs, Milton Takoma Park, Maryland 

Pironti, -Patricia Springfield, Ohio 

Pyles, Arnita* Pittsburgh, Pennsylvania • 

Rappaport, Jack Philadelphia, Pennsylvania 

Rea, Gary Scotia, New York 

Reilly, Robert Darby, Pennsylvania 

Rex, Chris Gettysburg, Pennsylvania 

Rice, Heide Tuscaloosa, Alabama 

Sampson, David Richmond, Virginia 

Sanders, Irvin Washington, Pennsylvania 

Schulte, Rolf Koln-Dellbruck, Germany 

Seiver, Rebecca Villanova, Pennsylvania 

Serkin, Judith Guilford, Vermont 

*Withdrew before the close of the year 



27' 



LIST OF STUDENTS — Continued 



Shay, Michaelene Philadelphia, Pennsylvania 

Shearer, Nancy Waterbury, Connecticut 

Shifrin, David Flushing, New York 

Singer, David Canoga Park, California 

Sloman, Jan New York, New York 

Snowdon, Patricia* Philadelphia, Pennsylvania 

Sonnenberg, Nadja Cherry Hill, New Jersey 

Souza, Robert Fairhaven, Massachusetts 

Spetalnik, Marc Brooklyn Heights, New York 

Stairs, Michael Augusta, Maine 

Stasis, Patricia Philadelphia, Pennsylvania 

Stegeman, Charles Gladwyne, Pennsylvania 

Stephenson, Mark Philadelphia, Pennsylvania 

Strang, Daniel La Verne, California 

Sturman, Mitchell Philadelphia, Pennsylvania 

Swan, Marilyn Los Angeles, California 

Takeuti, Kiyoko Tokyo, Japan 

Tiff, Michele Shaker Heights, Ohio 

Tsumura, Mari Kobe, Japan 

Tuma, Elizabeth Walled Lake, Michigan 

Turk, Gordon Browns Mills, New Jersey 

Villareal, Sylvia San Antonio, Texas 

Visca, Claudia Pleasantville, New York 

Vole, Gaby Tel-Aviv, Israel 

Vollbrecht, Jerome Sheboygan, Wisconsin 

Walker, Charles Westville, New Jersey 

Wang, I-Fu Taiwan, China 

Watson, Karl Belding, Michigan 

Watson, Regina Columbus, Georgia 

Watts, Christine Devon, Pennsylvania 

Webb, Barbara Blue Bell, Pennsylvania 

Weeks, Larry Cedar Springs, Michigan 

Weimer, Eric Reading, Pennsylvania 

Weimer, Patricia Princeton, New Jersey 

Weiss, Abe Los Angeles, California 

Wells, John Minneapolis, Minnesota 

Wiley, Peter Utica, New York 

Willis, Andrew Cincinnati, Ohio 

Wise, Herschel Philadelphia, Pennsylvania 

Wolfgang, Randall Catawissa, Pennsylvania 

Zupnik, Marilyn Pepper Pike, Ohio 

*Withdrew before the close of the year 



28' 



GRADUATES 

May, 1970 

Diploma 

Peter Brown 
Susan Cornwell 
Lance Elbeck 
James Hough 
Young Uck Kim 
Patricia Michaelian 
Michael Morgan 
Anthony Patota 
Daniel Sanbrotti 
Mark Steinruck 
Mark Sunkett 
Jo Ann Vischoric 
Donald Williams 



Bachelor of Music Degree 

Valerie Bobbett 
Pamela Boodley 
Claudia Hoca 
William Horn 
Robert Koester 
Karen Krisel 
George Stimpson 
David Weber 
Paul Windt 
Martin Woltman 



29' 



COLLEGE AND GRADUATE SCHOOL 
CALENDAR 

1970-1971 



September 14 (Monday) ) t> • • r i j j 

c -.^ )^ JN ^ Keeistration of old students 

SEPTEMBER 15 Qlucsday^ ) ^ 

September 16 TWednesday) ) _ . . ^ , 

c 1-, )-ru J A ^ Keeistration or new students 

September 17 CI hursdayj j 

September 18 (Friday) First Term opens 

November 26 (Thursday) ) _ . . . 

^T -,-, )t- • J A / Thankseivine Vacation 

November 27 (Fndav) | ^ ° 



December 17 (Thursday Evening) The President's Party 

December 18 (Friday) | /-, • Tr • 

J -, ^o 1 \ } Christmas Vacation 

January 3 (Sunday) j 

January 4 (Monday) School re-opens 

January 22 (Friday) First Term ends 

January 25 (Monday) Second Term begins 

April 5 (Monday) ) c xr • 

A 1 ^Vti7 1 1 N } baster Vacation 

April 14 (Wednesday) j 

May 14 (Friday) Last day of instruction 

May 15 (Saturday) Commencement 

Recitals as scheduled 
• 30- 



SECONDARY SCHOOL 
CALENDAR 

1970-1971 
September 14 (Monday) First Term opens 

November 26 (Thursday) | „,,.._.. 

XT ^-,)t--j N } inanksei vine Vacation 

November 27 (Friday) j & & 

December 17 (Thursday Evening) The President's Party 

December 18 (Friday) | /-i ■ tt • 

T -, /-o 1 ■< )■ Christmas Vacation 

January 3 (^ounday) j 

January 4 (Monday) School re-opens 

January 22 (Friday) First Term ends 

January 25 (Monday) Second Term begins 



April 8 (Thursday) ) x: \t 

A 11 ^n 1 ( / haster Vacation 

April 11 (^Sunday) 



June 11 (Friday) Last day of instruction 



31 




MAIN ENTRANCE 
THE CURTIS INSTITUTE OF MUSIC 



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